Lee Langley is the author of ten novels and has written several film scripts and screenplays.
Call it a mosaic. Here it all is – the pathos of a botched first date, a birth, a death, a feud, a stumble into love. The Café With No Name deals with the small dramas of everyday life. The setting is Vienna – not the elegant city of Schönbrunn but the Karmelitermarkt, one of
For Anna, wickedness istypified by the villain ofa fairy tale –Rumpelstiltskin The narrator of Alive in the Merciful Country is a woman weighed down by past trauma ‘like a bag full of broken kaleidoscopes’. Anna is a teacher steering her nine-year-old pupils through the 2020 lockdown while coping with life as the single mother of
They were known as song catchers: New York-based chancers with recording equipment packed in the back of the van, heading south in search of hill country music that could make the record company (and, relatively, the recorder) rich. The singer would get a flat fee of $30. Among themselves, over a beer, the catchers called
Nothing is ever quite as it seems in the world of Olga Tokarczuk. Her latest novel starts with an epigraph taken from Fernando Pessoa: ‘The visible world goes on as usual in the broad daylight. Otherness watches us from the shadows.’ Wild deer were murder suspects in her surreal and beautiful 2018 novel Drive Your
Watching Kevin Barry’s progress over the years has been a pleasure. His first novel, City of Bohane, flamboyant with tribal vernacular and savagery, was followed by Beatlebone, a beguiling surreal odyssey, and then Night Boat to Tangier, where two tired old crims wait and talk their way through the dark hours. Escaping Beckett’s long shadow,
Hell, according to Jean-Paul Sartre, is other people. Jessi Jezewska Stevens would nominate parties. Social catastrophe can stem from the invitation: ‘Email!’ she laments. ‘The way all modern tragedies begin.’ She homes in on the space between what a woman thinks and says and does. Her anti-heroines can be relied on to make wrong decisions
In everyday life – on a garden path, flowerpot or lettuce – I back rapidly away from slugs. I didn’t expect to confront them in literature, but in Michele Mari’s Verdigris they are present in abundance, from the first line: Bisected by a precise blow of the spade, the slug writhed a moment longer: then
When Joseph Conrad sent his narrator into the heart of darkness, Africa was unknown territory. Revisiting the scene now, Greg Jackson dispatches his explorer to an even stranger destination: an algorithmic universe. Jackson, a Granta Best of Young American Novelists in 2017, won prizes with his story collection Prodigals. His debut novel, The Dimensions of
Mike McCormack is much garlanded. He won the Rooney Prize for Irish Literature with his first collection of stories; the Goldsmith’s Prize followed in 2016, along with the Irish Book of the Year Award and the International Dublin Literary Award, for his novel Solar Bones. A book-length, single- sentence analysis of a man’s life, that
Michele Mari is one of Italy’s most eminent writers. A prize-winning novelist, poet, translator and academic, he is hardly known to anglophone readers, but that is about to change. You, Bleeding Childhood, a collection of 13 stories written over a period of 30 years, offers a portal into Mari’s surreal, unsettling world: a place of
Natsumi lives in a modern flat in Tokyo with her husband and two young sons, her life comfortable but circumscribed by the tedium of household chores. Washing dishes in the sink, she finds herself transfixed, gazing at the ‘rope of water’ falling from the tap, twisting like a snake: ‘There was something Sisyphean in the
In 1965 Andy Warhol set out to record 24 one-hour audio cassettes focused on one of his ‘superstars’, the actor known as Ondine. The recordings later became a, A Novel, a Joycean distillation of a day in the life. Four typists, two of them teenagers, transcribed the cassettes verbatim – everything they heard on their
Imagine a Stephen King thriller hijacked by Proust. Clammy-handed suspense, nerve-shredding tension, but related in serpentine, elegant prose, each climax held suspended – deferred gratification. What Javier Marías did for the spy story, Laurent Mauvignier does for terror. It begins quietly, with an ominous sense of something waiting to happen. An isolated hamlet in deep
This is a deceptively slim novel. Its 96 pages contain multitudes: two lives, past and present, seamlessly interwoven. The narrator, a Norwegian novelist, and her Italian husband live in Milan. ‘Ti amo,’ they frequently tell each other. Easier to say ‘I love you’, than for him to say he’s dying, and her to say she
Vanessa Salomon is an internationally successful translator. Clever, beautiful, privileged – ‘born in a trilingual household: French, English and money’ – she can indulge herself professionally with obscure, neglected books. About to embark on a forgotten nouveau roman by Alain Robbe-Grillet, she’s offered an irresistible assignment. A bestselling French novelist who is definitely not Michel
Angus Mooney is dead. Freshly murdered, he’s appalled to find himself in an Afterworld, having always rejected the possibility of life after death. Moreover, he can observe his murderer getting on increasingly well with his innocent widow. Mooney’s Afterworld is a deeply unsatisfactory mixture of computerised bureaucracy and urban chaos. In a landscape undreamed of
Were it not for an event on the night of 14 April 1865, John Wilkes Booth would be remembered, if at all, as an actor; brother of the more famous Edwin, and son of Junius Brutus – a footnote to the history of American theatre. But that night Booth leaped on to the stage of
Shakespeare wastes no time on Lear’s backstory; we meet the brutal old autocrat as he divides his kingdom between two devoted daughters. Learwife begins where the play ends. The mad, broken old man and three daughters are dead; but why has a messenger brought the word to a remote nunnery where a forgotten woman paces
The world Ruth Ozeki creates in The Book of Form & Emptiness resembles one of the snow globes that pop up throughout the novel: a whirling chaos of objects and people. The narration is shared between traumatised Benny, a 21st-century Holden Caulfield figure, and ‘The Book’ itself, opinionated, chatty. The author has fun with both
Welcome to Utopia — not an idyllic arcadia but a secretive tech incubator in a Manhattan office block. Here a computer scientist, Asha Ray, the narrator of The Startup Wife, her charismatic husband Cyrus and best friend Jules are nervously pitching their app platform — Asha’s cutting-edge algorithm aimed at people yearning for ritual without
